| Description |
1 online resource |
| Contents |
Machine generated contents note 1. Image and reality -- Images, the real, and history -- "truth" of the image -- Natural Born Killers and the objectivity of the image -- urge to represent "reality" -- Perspective and the pleasures of tricking the eye -- Photography and reality -- Manipulation of the image -- Reality as image -- From the photographic to the cinematic image -- Moving images -- Acknowledgments -- Further reading -- Suggestions for further viewing -- Note -- 2. Formal structures: how films tell their stories -- image, the world, and the film studio -- From image to narrative -- economics of the image -- system develops: Buster Keaton and Charlie Chaplin -- growth of corporate filmmaking -- classical Hollywood style -- Casablanca -- Entertainment and invisibility -- Fabricating the image -- whole and its parts -- Making the parts invisible -- Story, plot, and narration -- Jaws -- Convention and consciousness -- Further reading -- Suggestions for further viewing -- Note -- 3. building blocks of film I: the shot -- shot -- long take -- Magnificent Ambersons -- Touch of Evil -- Rope, Russian Ark, and Birdman -- Goodfellas -- How composition works -- Composition in early cinema -- D.W. Griffith -- Unchanging Sea -- Musketeers of Pig Alley -- size of the frame -- Wide screen -- Anamorphic and "flat" wide-screen processes -- Loss of standards -- studios and the shot -- Mise-en-scene -- Lighting -- Color -- Vertigo -- Red Desert -- mise-en-scene of German Expressionism -- Expressionist mise-en-scene in the United States -- Orson Welles and the reinvention of mise-en-scene -- Deep focus and the long take -- Citizen Kane -- Hitchcock mise-en-scene -- Psycho -- Working against the rules -- Further reading -- Suggestions for further viewing -- Notes -- 4. building blocks of film II: the cut -- Editing and the classic Hollywood style -- Great Train Robbery -- development of continuity cutting -- Griffith and cutting -- Lonedale Operator -- 2001: A Space Odyssey -- Shot/reverse shot -- Point of view -- Sight lines -- 180-degree rule -- Psycho and the shot/reverse shot -- Convention, culture, resistance -- Gender -- Coding -- Responses to conventional cutting -- Eisensteinian montage -- Battleship Potemkin -- Eisenstein and Oliver Stone -- narrative of the classical style -- Working creatively within and against conventions -- Further reading -- Suggestions for further viewing -- Notes -- 5. storytellers of film I -- Collaboration as creativity -- Creative craftspeople -- Cinematographer -- Editor -- Production designer -- Special effects and CGI -- Sound designers -- Composer -- Screenwriter -- Producer -- Further reading -- Suggestions for further viewing -- Notes -- 6. storytellers of film II: acting -- Methods of performance -- Delsarte -- Method -- Cultures of acting -- How screen acting works: the gaze and the gesture -- Eyes Wide Shut and Vertigo -- Celebrity -- Further reading -- Suggestions for further viewing -- Notes -- 7. storytellers of film III: the director -- producer as director -- European origins of the auteur -- France and the French New Wave -- auteur theory -- Andrew Sarris and the three principles: competence, style, vision -- Robert Altman -- Martin Scorsese -- Stanley Kubrick -- Alfred Hitchcock -- Women auteurs -- Alice Guy-Blache and Lois Weber -- Dorothy Arzner -- Ida Lupino -- Women filmmakers today -- Kathryn Bigelow -- African American filmmakers -- Spike Lee -- Tyler Perry -- Julie Dash -- Auteurism today -- Christopher Nolan -- What is the director? -- Further reading -- Suggestions for further viewing -- Notes -- 8. International cinema -- Early influences -- Neorealism -- Bicycle Thieves and Rome, Open City -- Neorealism's influence -- Italian cinema after neorealism -- Federico Fellini and Michelangelo Antonioni -- Bernardo Bertolucci -- New Wave -- Francois Truffaut and Jean-Luc Godard -- new German cinema -- Wim Wenders -- Werner Herzoq -- Rainer Werner Fassbinder -- Chantal Akerman -- Jeanne Dielman -- Film in Asia -- Japan and Yasujiro Ozu -- Hong Kong and Wong Kar-wai -- Bollywood -- Satyagraha -- Lunchbox -- European cinema today -- Jean-Pierre and Luc Dardenne -- Michael Haneke -- Film culture -- Further reading -- Suggestions for further viewing -- Notes -- 9. stories told by film I -- stories we want to see -- It's a Wonderful Life -- Closure -- Dominant fictions -- Narrative constraints -- Censorship -- Genre -- Subgenres -- Generic origins -- Generic patterns: the gangster film -- Genre and narrative economy -- Documentary -- Newsreels and television -- Early masters of the documentary -- Dziga Vertov and Esther Shub -- Robert Flaherty -- Pare Lorentz -- Leni Riefenstahl -- John Grierson and the British documentary movement -- World War II -- Cinema verite -- David and Albert Maysles -- Michael Moore -- Errol Morris -- genres of fiction films -- Western -- Western landscape -- obstacle to westward expansion -- Western star and the Western director -- Stagecoach -- Fort Apache and The Man Who Shot Liberty Valence -- Searchers -- Western after the 1950s -- Wild Bunch, Little Big Man, McCabe and Mrs. Miller -- Science fiction and horror -- Fritz Lang's Metropolis -- Science fiction in the 1950s and beyond -- Day the Earth Stood Still -- Thing from Another World -- Forbidden Planet -- Alien, Blade Runner, and Dark City -- 2001: A Space Odyssey -- post-apocalyptic world and zombies -- Further reading -- Suggestions for further viewing -- Notes -- 10. stories told by film II -- Film noir -- Expressionist roots of noir -- Hard-boiled fiction -- Maltese Falcon -- Murder, My Sweet, Double Indemnity, Scarlet Street -- Anthony Mann -- Noir's climax -- In a Lonely Place -- Wrong Man -- Kiss Me Deadly -- Touch of Evil -- Noir's rebirth -- Melodrama -- Broken Blossoms -- Now, Voyager -- Casablanca -- Contemporary melodrama -- Fault in Our Stars -- Flight -- Brokeback Mountain -- One genre, two countries, three directors -- All That Heaven Allows, Ali: Fear Eats the Soul, Far From Heaven -- filmmakers -- Rainer Werner Fassbinder -- Douglas Sirk -- Todd Haynes -- common thread -- All That Heaven Allows and Far From Heaven -- Race -- Gender -- Ali: Fear Eats the Soul -- influence of Bertolt Brecht -- gaze -- Fassbinder's narrative -- Happiness is not always fun -- Genre resilience -- Further reading -- Suggestions for further viewing -- Notes -- 11. Film as cultural practice -- Film in the realm of culture -- Culture as text -- Subcultures -- Media and cultures -- new Web -- Theories of culture -- Frankfurt school -- critique of American popular culture -- High culture, masscult, and midcult -- Walter Benjamin and the age of mechanical reproduction -- aura of state intervention -- Birmingham School of Cultural Studies -- Reception and negotiation -- Judgment and values -- Intertextuality and postmodernism -- Cultural criticism applied to Vertigo and This is 40 -- cultural -- technological mix: film, television, digital -- Judd Apatow and the digital -- actor's persona: James Stewart and the Apatow boys and women -- James Stewart -- Apatow stock company -- Vertigo and the culture of the 1950s -- Kinsey Reports -- This is 40 and the culture of the early 2000s -- vulnerable male in film -- Film, form, and culture -- Modernity, modernism, the postmodern -- Formal structures -- Conclusion -- Further reading -- Suggestions for further viewing -- Notes |
| Summary |
Film, Form, and Culture (4th edition) offers a lively introduction to both the formal and cultural aspects of film. With extensive analysis of films past and present, this textbook explores film from part to whole; from the smallest unit of the shot to the way shots are edited together to create narrative. It then examines those narratives (both fiction and non-fiction) as stories and genres that speak to the culture of their time and our perceptions of them today |
| Bibliography |
Includes bibliographical references and index |
| Notes |
Online resource; title from PDF title page (EBSCO, viewed August 20, 2015) |
| Subject |
Motion pictures.
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Culture in motion pictures.
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PERFORMING ARTS -- Reference.
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Culture in motion pictures
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Motion pictures
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| Form |
Electronic book
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| ISBN |
9781317541684 |
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1317541685 |
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